The ubiquitous “smoker” was one of the most common novelties of the Depression era. This one was made by Cushman.

Have you ever picked up a book about American 20th-century furniture and marveled at the number of seemingly “non-furniture” items included in the pages? If you look around homes and estates originally furnished in the 1920s and 1930s, you might see many of the same items stashed away in nooks and crannies. The same holds true for old movies. The next time you see “Bringing Up Baby,” “It Happened One Night” or “The Maltese Falcon,” look at the sets. While it may feature the stylish, streamlined Art Deco of the period, it is also more than likely it is filled with small, non-essential items like wall racks and magazine stands, smoking stands and sewing tables. Where did all of that stuff come from?

It was the result of one of the most trying periods of American history—from the American Great Depression of the late 1920s until just after the Second World War. The great stock market crash of October 1929 was just the beginning, as the country was plunged into a deep depression that brought poverty to many middle class working families and threatened the existence of much of American industry, including the furniture manufacturing and retailing industries.

It became harder and harder, then virtually impossible, to sell a new dining room suite or a new living room ensemble to a newly impoverished family that could barely pay the rent and buy food. But there is always that small ember of burning desire to make small additions and improvements to the nest, so the furniture industry came up with a new product line—“novelty” furniture. Companies that could no longer sell the entire houseful of furniture found that they could help the housewife spruce up the dining room, not with a new suite but with a new novelty called the “tea cart” or “tea trolley.” True, the form had been around since the early 1920s, but it became popular after the crash. Not that American households served traditional hot tea in the English manner, but the name gave the wheeled buggy a nice little touch of much-needed class.

And if a little class was good, many choices in the class were better. Major players like Stickley Brothers of Grand Rapids entered the novelty market, offering as many as 18 different finishes and decorative schemes for it line of “hostess wagons.” And they came with tray tops, extra shelves, folding handles and a variety of wheel arrangements that were marketed under a number of names.

The major center of the novelty industry was found in Chicago, with its wide variety of manufacturers. One of the more innovative of the novelty makers was the United Table-Bed Company. It made the famous “Ta-Bed,” a bed that folded up to look like a small breakfast room table. It was marketed as a multiple-use product that “saves space, saves rent, perfectly combines in one piece of furniture the functions ordinarily performed by two.” The Storkline Corporation turned out a line of inexpensive baby cribs and juvenile furniture, while even the powerhouses of Chicago joined in the niche market. Tonk Manufacturing, finding the need for piano stools waning, turned to high chairs and music cabinets. Parlor frame maker Zangerle & Peterson turned to small tables and commodes, while Kruissink & Brothers turned from oak bookcases to wall shelves.

This hanging wall shelf was made by Butler Specialty Company of Chicago in the 1930s. The same shelf can be seen in a display of Butler products on page 308 of “Chicago Furniture - Art, Craft & Industry 1833-1983” by Sharon Darling.

The great survivor of the novelty makers was Butler Specialty Company, which formed in 1927. Butler specialized in magazine racks and wall shelves to survive the Depression, turning later to full-size, high-end furniture. Butler is still in business today, offering a medium to high quality line of furniture.

Another product of the novelty phase was perhaps the best-known sewing stand of the 20th century. No, not the Martha Washington. It was the “priscilla,” the small stand with the peaked top that opened on both sides below the handle. This little stand first appeared early in the century and gained prominence during the dark days.

But the prize of all the novelties was the smoking stand. This multi-purpose stand came into use just after the First World War and was popular until after WWII, even though it slipped a little in the 1930s. The stand focused initially on the pipe smoker, providing an enclosed humidor space, complete with moisture pad, in the interior. Many of the “humidors” appeared to be made of copper or brass but were in reality just sheet metal that had been painted or coated. Brass and copper were much too expensive for smoking stands. The smoker or smoking stand became the object of decorative fancy, utilizing the most outrageous woods possible. Zebra-striped “zebrano” veneer was a common material, as was Oriental walnut, the striped Australian wood. Applied decals and exotic paint schemes decorated many of the affordable stands.

One well known novelty maker outside of Chicago was the H. T. Cushman Company of Bennington, Vt. Founded in 1864 as a bottle cork manufacturer, Cushman diversified into “novelties” that led to such items as the pencil with an eraser on it, the first ink eraser and some of the earliest roller skates. Cushman introduced its first smoking stand in 1913 and it was the cause for factory additions in 1919, 1922 and 1926. In the early 1930s, Cushman expanded the line to include articles that fell in with the Colonial Revival movement of the day and became a major manufacturer of “Colonial” furniture. Over the years it updated its lines and eventually was acquired by General Interiors Corporation. The factory facility was used by Green Mountain Furniture to construct inventory for Ethan Allen from 1972 to 1978.

This little drop leaf side table is an excellent example of novelties made by Ferguson Brothers of New Jersey.

The Ferguson label is usually prominently displayed.

But the overall “King of the Novelties” title belongs to Ferguson Brothers Manufacturing of Hoboken, N.J. The Ferguson Brothers Manufacturing Company made furniture at its Hoboken factory from 1898-1953 and was family owned until selling to Sun-Glo Industries in 1953. At that time, the company was moved to Virginia. Back in 1934, Ferguson’s entry in the New Jersey list of corporations read “FERGUSON BROS. MFG. CO., furniture novelties, folding screens, folding tables, cedar chests, smoker stands, cellarettes, humidors. 720 Monroe St., Hoboken. Pres Harry Ferguson.”

Small items from Ferguson continue to show up almost daily at local auctions and antique malls.

Many modern furniture manufacturers today owe their existence to the survival mode adopted during the Depression and a large part of that mode was the design, construction and sale of “novelty” furniture to the American public.

Fred Taylor is a antique furniture Worthologist who specializes in American furniture from the Late Classicism period (1830-1850).

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Send your comments, questions and pictures to me at PO Box 215, Crystal River, FL 34423 or info [at] furnituredetective [dot] com.

To set the tone, get dressed for the part. What would be more appropriate than a suit made specifically for Barack Obama during the campaign? To show that you never know where you’ll come across a significant collectible, this great find was discovered by a shopper at a bargain store in New York. A tag bearing Obama’s name was stitched in the inside coat pocket attesting to its authenticity. Its value has not been determined because no similar suit has been auctioned to date. However, it is estimated to be worth from $5,000 to the low five figures.

Naturally, you will want to complement your new suit with a set of cobalt-blue-and-gold presidential-style cuff links in its own leather presentation box. On the reverse is a bas-relief signature of Barack Obama, just perfect for your inaugural party at $250 a set or a lapel pin for $150.

Obama cuff links

Plates with a smiling Santa Claus obviously won’t fit your theme. Instead, consider setting your table with official inaugural plates. They cost $82 each and have a startling navy-blue-and-gold pattern with the official inaugural seal in gold.

2009 inaugural plate

When it’s time, bring out a wonderfully colorful, etched bottle of Mumm Champagne. Limited to only 200 individually numbered bottles, bearing the red-white-and-blue campaign logo with the inauguration date of Jan. 20, 2009, is an unusual collectible starting at $300. Add the gold-etched set of four Champagne flutes for $60 or a set of etched rocks glasses, too, featuring the presidential seal and the etched signature of the 44th president of the United States. A matched decanter with the gold-embossed presidential seal rounds out a perfect set for $75.

Obama Champagne

Decanter and flute

Caution alert: Lest you get carried away in the headiness of the festivities, be sure to buy a back-up bottle or two of bubbly for toasting purposes, otherwise you’ll drink your collectible’s value.

Decorate your inaugural table with the cross-cut crystal vase adorned with the presidential seal and signature of Barack Obama in gold for $75. I don’t know if President Obama has a favorite flower is, but it will look just as presidential filled with your favorite. Or you might go with some patriotic red, white and blue carnations.

Obama vase

Once the party’s over, store your cuff links and lapel pin in a hardwood replica of the Oval Office desk, similar in design to the original given to President Rutherford B. Hayes by Queen Victoria of England and used by most presidents ever since. The original desk, the one that John-John Kennedy famously played under, is priceless, but your wooden replica box is much more affordable at $125.

Oval Office desk replica

Of course, there are other collectibles to be had. Every inauguration brings out the best in artists and artisans. Issuing an official inaugural medal has been tradition since 1901 when William McKinley took office. This year, Mark Mellon, a Connecticut artist, was asked to create the bas-relief image of Barack Obama for the 2009 official inaugural medal.

“There were times when I was sculpting when I literally had tears in my eyes,” Mellon said, “just knowing the magnitude of the moment. As an artist, to have just a little bit of input in how we celebrate this president is a huge honor—a huge honor and a big responsibility.”

To truly commemorate the occasion, purchase the complete set of gold, silver and bronze medals in its own presentation box for $3,000. Or you can purchase an individual bronze for $70 and a sterling silver version for $400.

Inaugural medals

To see other great and wonderful gifts (and future heirlooms) that honor our 44th president on the day of his inauguration, visit Worthologist Jim Warlick’s Official Souvenirs site.

P.S. And don’t forget to buy food and beverages for the party.

WorthPoint—Get the Most from Your Antiques & Collectibles

After six months of financial turmoil that saw the U.S. economy slide into the first recession in decades, it’s hard not to be pessimistic. For most of us, antiques aren’t a consumer necessity. They are not things we need to live a normal life, but they are things we want. As any economist worth his salt can tell you, that’s a big distinction.

Consumers spend first on necessities and last on luxuries. As virtually every auction house and antique dealer can attest, 2008 was not an especially great year. Collectors, dealers and institutional buyers weren’t spending as freely as they were in 2007.

So what does 2009 hold in store? I would say that I am “cautiously optimistic.” Collectors will still want to buy, and some will want to put their discretionary funds into a tangible asset that they can see, feel, and touch- like those Chippendales and weathervanes I mentioned that will likely increase in value despite the economic situation. Great antiques will still bring great prices, and whether you’re a collector or dealer, there will be plenty to buy.

Baby-boomers will continue to downsize to smaller residences, shedding collections accumulated over a lifetime. Other collections will come on the market through the normal course of death and estate dispersal, while some will appear as a result of financial necessity. Make no mistake; there will be a flood of great antiques to buy.

As these antiques come to the market in 2009, we’ll undoubtedly see a continued softening of prices for objects in the “middle market.” This has been a trend that began several years ago, and will almost certainly accelerate in the New Year. The “middle market” includes items such as cut glass, Haviland or Limoges china, and most antiques that were produced in factories. If you collect any of these things, this will be good news as you will be able to buy and collect on the cheap!

Regardless of whatever the overall effect the economy has on the antiques business there are segments that will be affected less than this “middle market”. The market at the top for the rarest items will remain as strong as ever. Even in a recession, the competition for quality and rarity won’t diminish, and record prices will be paid in the coming year for great antiques!

About the Author:

Wes Cowan is founder and owner of Cowan’s Auctions, Inc. in Cincinnati, Ohio. An internationally recognized expert in historic Americana, Wes stars in the PBS television series History Detectives and is a featured appraiser on Antiques Roadshow. He can be reached via email at info [at] cowans [dot] com. Article research by Diane Wachs.

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Collecting Horseshoe Plaque Trivets is a fascinating hobby! It’s interesting to learn the history, practices and symbols of the different fraternal groups. And then there were the gift trivets … every year I find new examples: Happy Birthday, Happy New Year, Merry Christmas, Home Sweet Home … the list seems endless.

Some Facts about Horseshoe Symbolism

★ By the year 1000 AD cast bronze horseshoes, applied with nails, were being made in Europe.

★ The number seven has long been associated with luck, so it’s not unexpected to learn that a horseshoe was commonly nailed in place (on the hoof) with seven nails.

★ The original good luck Cast Iron Horseshoe was one lost by a horse. In order to be lucky it had to be discovered with the open end facing towards the finder. According to superstition it had to be hung by the same person who found it and with the open end up, in order to hold in the luck.

★ The rules for purchased good luck horseshoes were a bit different. They could be hung as noted above or with the ends pointed downward, so that the luck would flow out to surround and protect.

★ Horseshoes were thought to have the power to repel evil spirits. They were commonly placed over doorways and by chimneys to keep witches or fairies from gaining entrance to the home. A horseshoe nailed over the bed could protect against bad dreams and demons of the night. When used in this fashion the horseshoe ends had to point downward.

How to Identify a Horseshoe Plaque Trivet

Horseshoe plaque trivets differ from traditional trivets in that they are completely flat on the reverse … there are no feet: thus the designation plaque trivet. Some collectors claim that these horseshoe plaque trivets could have served the dual purpose of a sad iron stand: by turning them over, a hot iron could have rested on the flat surface. Is that true? I suppose we’ll never know for sure!

The majority of Horseshoe Plaque Trivets were manufactured from the mid 1800s through the early 1900s, peaking around 1890. They all share the basic horseshoe shape. Beyond that, designs varied according to the theme. Some were carnival prizes and might still bear traces of their original glitter. Others were fraternal emblems, lodge favors, commemoratives or were purchased as gifts. The American Eagle was featured atop many of these plaques, and Good Luck was a favorite sentiment.

Cast in iron, brass or bronze, most horseshoe trivets were six to seven inches in length, each weighing approximately one pound. Some had hanging rings attached to the reverse. Occasionally, larger ones were made for tabletop display, supported by a metal easel.

There were hundreds of different designs featuring fraternal symbols. Since many of those early organizations no longer exist, their histories, acronyms and symbolism can be difficult to research. A wonderful online reference is Richard Hartzog’s Complete List of Fraternal Organizations.

Searching for Horseshoe Plaque Trivets

The traditional place to discover these trivets has been the antique store/mall or flea market. Others would occasionally turn up at estate auctions. However, today the most convenient and efficient place to search is right here on the Internet. And, of course, the Search is half the fun! You’ll find them listed under various headings, such as horseshoe, horse shoe, plaque, paperweight, and wall hanger                                                       

 Lynn Rosack is a Worthologist who specializes in trivets and kitchenalia.

Automobile Flower Vases

By David Bausch

The flower vase is both an automobile accessory and an object of auto art. The flower vase added a touch of elegance to a rather dull interior of many of the cars of the 1920’s.

While many of the expensive sedans and limousines sported flower vases as part of standard equipment, the more common automobile lacked that grace. So, companies like Sears offered flower vases in their auto supply section of their catalogue. The prices of such elegance would cost in a range of 75cents to more than $3, depending on the quality of glass and the engraving and the mounting frame. I have a pair of sterling silver vases that are embossed with automobile scenes, and to be sure it was a custom design and was quite expensive. The vases come in many designs and colors including carnival glass, green, blue, Vaseline, amber, mercury glass and other colors I have not seen in my years of collecting.

Prices rage from $10 to $65, depending upon the quality of the item. As always, condition is important.

Caution: Just because the vase is cone-shaped, it doesn’t always mean it was designed for an automobile. Many glass vases of similar shape were made to be used in epergnes. Most car vases were small and had a ridge for the bracket that held the vase. Try and collect vases with their brackets for easy display. Some of the brackets are quite decorative with etched designs.

According to Kelly & Ellwood in their 1990 book Trivets & Stands, the first George Washington Trivet was designed and cast in brass for the Philadelphia Centennial Exposition of 1876. George Washington was an appropriate subject, considering that the Exposition was held to celebrate the 100th anniversary of the signing of the Declaration of Independence!

In a few minute’s Internet Search I easily located several of these GW trivets. Some were obvious reproductions; others appeared to be older castings. So … if the design has remained essentially the same over the years, how would someone be able to differentiate a newer reproduction from an earlier casting?

Signature The original George Washington trivet had no signature on the reverse. Recent reproductions from JZH (1948), Darilyte and Virginia Metalcrafters (1950s-1960s) were signed with the company name; the Virginia Metalcrafters trivet also bears the company logo.

Casting Mark The oldest trivets will have either a sprue, wedge or poorly filed gate mark; see my Article, Trivets of Cast Metal. You probably will not be able to detect the gate mark(s) on a recent casting because they are so well filed.

Leg Length Modern reproduction trivets tend to have legs that are less than 1 inch in length; many may be only a half an inch. That’s because these trivets were meant for decorative wall display. Earlier castings will have longer legs because that lifted the trivet farther above the surface it was designed to protect.

Shape of Legs Modern reproduction trivets have legs that are short, straight and round on cross-section. Older trivets have legs that may taper or that are square, triangular, half or quarter round on cross-section.

Evidence of Wear Look at the top surface and the bottoms of the legs; on an older trivet some wear is to be expected. The legs on antique trivets often bend inward; this is seen more commonly on brass trivets but also occurs with cast iron.

Variations of Handle The original design featured a handle that was open in the center. Subsequent castings featured either an open or a solid handle.

Backcoping Backcoping refers to a routing out of sections of the trivet reverse in order to decrease both the amount of metal needed and the weight of the final casting. In the original casting, the area behind the bust of Washington is backcoped. In contrast, most modern reproductions are completely flat on the reverse.

The Pigtail! Modern reproduction designs often do not include the pigtail of the wig George is wearing; older castings will always include it.

And what about value? At one time the George Washington trivet design was considered scarce, but since the advent of the Internet many have been brought to Auction and they are now relatively easy to obtain.

* $25-$45: Signed, reproduction trivets
* $45-$85: Older, vintage or antique, unsigned versions in brass or iron
* $85- $185: The very nicest older specimens in cast iron or brass with a prominent casting mark, long legs, nice detail and no damage
* > $200: The highest bidding would be for an original, circa 1876 George Washington Trivet specimen in brass, with open handle, 1⅜” legs and and showing signs on the reverse suggesting its origins via wax casting. I would estimate that the bidding would start at around $200 and end at $350 to $500. Two or more passionate collectors, bidding against each other, could cause the ending price to be even higher. I believe the brass trivet pictured here to be an original casting. It has a sprue mark on the reverse and the legs are bent slightly inward from age.

Now that I’ve said all that, a very nice older specimen of the George Washington trivet, cast iron with a closed handle and sprue mark on the reverse, was offered at auction by Early American through Live Auctioneers and sold for $1000 in May 2007!

As they say, value is ultimately in the eye (and pocketbook) of the beholder.

 Lynn Rosack is a Worthologist who specializes in trivets and kitchenalia

Lot 21, an American silver tankard with an estimate of $50,000 to $60,000 will ignite the sale. With an attribution to Bartholomew Le Roux, the only Huguenot silversmith working in New York City in the 17th/18th century, this museum-quality tankard will undoubtedly be the focal point of a public or private collection and will set the tone for the rest of the sale.

Lot 126 is the portrait of Mr. McCausland and his daughter, Frances P. McCausland, by Charles Peale Polk (1767-1822), nephew of Charles Willson Peale. Polk is more limner than portrait painter. His sometimes flat rendering of his subjects is indicative of the style of American portraits of the time He is, nevertheless, well represented in major public collections. It will be interesting to see what bottom line this paintings achieves. Estimate: $40,000 to $60,000.

The sale progresses with another superb piece, a Federal tall-case clock, Lot 135, designed, crafted and signed, Oct. 11, 1811, by New Jersey’s premier clockmaker, Isaac Schoonmaker. The clock displays the best of early-19th-century style and design with the unique touches that have distinguished Schoonmaker as one of the most-sought-after clockmakers in the U.S. The estimate of $10,000 to $15,000 will be met and exceeded.

Lot 324, a pair of rococo revival rosewood Stanton Hall armchairs is a major design departure from the more spare design pieces listed heretofore. Designed by J+ JW Meeks, 1836-1855, this pair of chairs embodies the flamboyance of the rococo period with a central rose cartouche design flanked by a pierced crest rail and tufted back, serpentine front seat and carved rail on cabriole legs terminating in stylish scroll feet. Estimate: $4,000 to $6,000.

Lot 358, a carved-pine seal of the commonwealth of Massachusetts, is a fascinating piece with an estimate of $30,000 to $50,000. Formerly owned by Thomas B. Wanamaker, son of department-store magnate John Wanamaker, this last quarter of the 19th century piece is carved with a figure of an Indian dressed in a shirt, leggings and moccasins, holding a bow in one hand and an arrow in the other. The motto translated from Latin is “By the sword we seek peace but peace only under Liberty” appears in the bannerette. This seal hung at the Philadelphia Centennial Exposition and was purchased by Wanamaker at the close of the festivities. The item piques my interest, and I will be fascinated to see what the hammer brings down on this one.

– By Christopher Kent, a member of the WorthPoint board of advisers and director of evaluations for WorthPoint. He is also an antiques and collectibles generalist, fine-arts broker and president of CTK Design.

WorthPoint—Get the Most from Your Antiques & Collectibles

A certain misapprehension has always surrounded the subject of silver from Sheffield. Popular belief holds that it is the same as Sheffield plate. This belief is justified up to a point, for there certainly was an interlocking of interests between silver from Sheffield and Sheffield plate, as the story of Sheffield candlesticks shows. But silver hallmarked with the Sheffield town mark of a crown is of Sterling standard (see photos), while the “plate” is just that: a thin layer of silver fused onto copper. Sheffield silver marks examples of all types can also be found in our www.Marks4Antiques.com on the Internet or other references, such as specialized books.

The story of candlesticks, which were hand-raised from sheet metal until casting became universal during the late-17th century, is one of continuing simplification. The change in method of manufacture was one aspect of simplification of process. The base (made in one piece) and the columnar stem and candleholder (made in two) were easy to cast. The whole was skillfully joined together, just as the separate parts of the machine-aided candlesticks were joined when that method was perfected later in Sheffield.

There was nothing really new about casting. But the use of the process made things far easier, so much so that candlesticks dating from about the year 1700 survive in large numbers and evolving styles and in good heavy quality that needed no further strengthening.

Evolution, however, did not confine itself to styles. During that century, inventions to reduce both cost and labor followed one another quickly in England’s Midlands, easing the supply and demand problem created by a newly affluent society that was not yet really rich. Sheffield plating, a process discovered in 1742, was a boon in more ways than one. It not only simulated silver at a fraction of the cost, but it led to the invention of other processes that were also useful in producing the same type of articles in silver at about a third of the price of the old method. Sheffield silver, in fact, owned a great deal to the fused plate industry since it depended on the same processes. In Sheffield, the two trades worked closely together. Although all Sheffield candlesticks were by no means so insubstantial, most were. This explains why most Sheffield candlesticks had to be loaded with a hard or weighty substance, usually marked as “weighted”. As hollowware they could not have stood alone. This is also why they were so easily damaged or dented.

New Steel Dies

Candlesticks were being made in Sheffield before the perfection of Die Stamping in the early 1760s. But with the new steel dies, the necessity for hand finishing ceased. The cutting of a die, in reverse, was a skilled job undertaken only by specialists, and many candlesticks required a dozen or more dies, all cut separately. Nevertheless, the effect was most impressive, for not only the shape but every form of decoration stood out clearly on the metal, as if embossed, chased or otherwise worked by hand by a master. This helped in enhancing decorative features and allowed for an increased detail on the finished candlestick. Mass production is hardly the word that would spring to mind, yet once these parts had been soldered together, a strengthening rod inserted, and the hollow filled with pitch or another hardener, the object was complete. This was a much quicker and more efficient method than before.

Before Sheffield was granted its own Assay Office in 1773, silver from that city was sent to London for marking, where the smart trader snapped up candlesticks to resell as London work at London prices, even though those were always cast. This was so lucrative a practice that London silversmiths continued to overstrike Sheffield makers marks with their own after 1773 and until about 1780. A well-documented example is that of John Carter, known for his fine “London” candlesticks, but we now know that he resorted to this type of trade frequently.

From the start, certain Sheffield firms specialized in candlesticks, including John Winter & Co., who made many graceful sets. This did not prevent other firms from producing very fine sticks in addition to other objects. The whole question of makers, however, is extremely involved. Whereas some partners were concerned solely with sales, many “names” belong to several companies. Confusion for today’s collectors is the natural result. The basic construction of candlesticks was also affected. There were firms who, while assembling no sticks themselves, specialized in the production of parts for sale to others, so that the same base, or stem, or nozzle, stamped out by the thousands, might be used by many small makers, each stamping his own punch.

Again, many of Sheffield’s registered silversmiths were Silver platers first and foremost, and it was in the plating industry that the best designers and die cutters were mostly employed. With dies costing up to $150, an extraordinary amount of money for that time, the best use had to be made of them. With silver doubling the possibilities, it became expedient to form a silver company with a silversmith in partnership. Some of the top makers also belonged to several firms of the same standing, so their names appear in many combinations. This naturally also affected the use of dies whose circulation was not confined to one firm and its subsidiaries. Therefore, many of the same dies might be used by several firms and for both Sheffield plate and silver.

Diversity of Designs

If it were not for the endless possibilities for varying available parts, this would lead to a terrible sameness among Sheffield candlesticks. But when the number of die cutters, firms, designs and parts are considered, this practice still allowed for a huge number of variations of designs and styles to be made. It is true that no one maker’s work was distinctively his. Yet it is possible to fail to recognize the similarity instantly from a row of sticks all set on a base from the same die, so different is the effect.

Styles revived every known form, from Gothic through Rococo to Greek Classical motifs. Nevertheless, it was in the Adam period (circa 1760s–1790s) that Sheffield silversmiths excelled, showing their full powers of original design, aided by the suitability of thin-rolled silver to a style that was so essentially graceful. Other styles could come and go, but Adam candlesticks never ceased to be popular to this day. It was largely these that Victorians and others, using old Sheffield dies, produced as genuine period pieces.

Some pieces are dated, such as many shown in the accompanying photos. Other famous Sheffield silversmiths include John Watson, who produced mostly Rococo styled pieces circa 1816 and stamped accordingly. Others are not. Candlesticks, tapersticks and candelabra, which often had plated branches to save expense, were mostly made in the Adam style from an immense range of designs. Decoration on these, whatever their shape, was elegant to say the least. As heavier, more ornate forms came into fashion, designers adapted as needed. What Sheffield candlesticks lacked in weight of silver was well compensated for by the designers.

Chambersticks, which lost their purpose of lighting people’s way to bed during the 19th century, never attracted these designers to the same degree. Very few attempted more than the gadrooned edge and leaf-capped handle, although a few followed the Adam Neoclassical line. Telescopic candlesticks, however, invented in Sheffield and exclusively made there, are another matter. These were of a utilitarian nature and were intended to throw a constant light, height being adjusted as the candle shortened, so avoiding strain on the eyes when reading, sewing, and so forth. Consequently they were seldom made in silver as table sticks were, and still more rarely in a set of four. Most were of Sheffield plate, designed to extend to varying heights. Some were very small, round and plain, and few are decorated beyond rayed flutes, gadrooned or beaded edges.

These were first made in 1790, but in 1798 when Samuel Roberts patented his machine to produce candlesticks that moved effortlessly to any desired position, they reached their zenith and were made for the next 25 years. Telescopic candelabra were simply an extension of these. According to old invoices, candelabra have a history as old as candlesticks, but it was not until Sheffield makers reduced their costs that they became more common. Even then they were more frequently made in plate, almost universally so in the 19th century with the exception of some notable examples by Storr and a few other makers.

In an 1809 example by John Watson, the candleholder and waxpan were stamped out in one piece, often over 20 inches high, and had remarkable decorative detail. Fenton, Allanson & Co. went even further. The weight of the silver branches on one of their pairs alone came to 136 ounces. Fenton, along with Richard Creswick, was one of the original names in Sheffield.

But such pieces are rare and because of this they are often faked or made up, sometimes using the holder of an old stick, particularly the chamber type, which usually displays the silver marks. The one safeguard against this is correct attribution of these silver markings, with every single detachable part at least partly marked at the same time. This, of course, goes for all sticks. One form of faking is to make a cast from an old pair. Old dies may lose a little sharpness with continued use and age and so the fake mold will have lost the sharpness of the marks, appearing very unclear. But, as they say, for Sheffield makers, “copying is the ultimate form of flattery.”

WorthPoint—Get the Most From Your Art, .Antiques and Collectibles

I recently received the following question from a fellow WorthPoint member:

I have a couple Wilton trivets (eagle in wreath w/heart) and I’m interested in the history of the eagle/wreath/heart symbol. Do you have any information on this?

What a great question! The American bald eagle has been prominently featured in many different trivet designs. Eagle and Heart or Eagle is probably the most familiar and often reproduced eagle trivet design. That pattern features an eagle and heart within a circular laurel leaf wreath. According to Rob Roy Kelly & James Ellwood in their 1994 book A Collector’s Guide To Trivets & Stands, the original design dates to the 1860s and can be attributed to the Community of Zoar, Ohio. Reproductions of this design were mass-produced in the 1950s through 1960s by American foundries such as Wilton and John Wright, both of which are still active today.

Let’s consider the subtle message of the American bald eagle. In June of 1782, the Continental Congress adopted the eagle as its national symbol. Later that same year, the Great Seal of the United States was designed and first used. The eagle on the Great Seal has always faced towards the olive branch. However, the eagle on the Presidential Seal, designed in 1880, originally faced the arrows! On Oct. 26, 1945, at the conclusion of World War II, Harry Truman had the Presidential Seal redesigned so that the eagle was facing the olive branch of peace.

What is the significance of direction? When a design features an eagle holding a bundle of arrows and an olive branch in its talons, be sure to note which direction the bird faces. If it faces towards the bundle of 13 arrows, it symbolizes the power of war. If it faces towards the olive branch with thirteen leaves, it symbolizes the power of peace. The number 13 in each symbolizes the original thirteen colonies.

Keep those great questions coming!

Lynn Rosack is a Worthologist who specializes in trivets and kitchenalia.

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So it’s kind of curious that it took until 1925—long after the golden era of paperweight manufacturing 1845-1860 and despite the championship of royal collectors like Queen Victoria, Queen Mary, Empress Eugenie (Napoleon III’s wife) and Empress Carlotta (Mexican Emperor Maximilian’s wife)—for paperweights to be recognized as a legitimate, collectible art form.

The turning point came when Sotheby’s, in 1925, held the first-ever auction of paperweights and sold 82 for a grand total of $588! Compare that to the collector Paul Jokelson’s Pantin “Silkworms” paperweight going for $143,000 in 1984 and his “Bird in the Nest” paperweight selling for $182,600 at an L.H. Selman auction in 1990. And to the unique Clichy “Basket of Flowers” that fetched $258,000 at Sotheby’s in 1990, the highest price ever paid for a paperweight.

Rarity and demand have ensured a steady appreciation in price, making antique paperweights a good investment. So also paperweights by modern masters like Paul Ysart and Paul Stankard. But, remember, fashions change and what is valuable today may not always remain so. That said, if you’re going to start a paperweight collection, go for quality over quantity, and buy the best within your budget.

Some paperweight collecting tips:

Join paperweight collectors associations such as the Paperweight Collectors Association (formed by Paul Jokelson in 1954), Paperweight Collectors Association of Texas (formed on 28 June 1986), International Paperweight Society (formed in 1992) and Caithness Glass Paperweight Collectors Society (founded in 1976 by Colin Terris, the company’s master paperweight artist). Subscribe to their newsletters, and attend seminars and lectures on paperweight collecting.

Visit museums with paperweight collections—the Smithsonian Institution, Corning Museum of Glass, Art Institute of Chicago, Bergstrom-Mahler Museum in Neehan Wis., Currier Museum of Art in Manchester, N.H., Forsyth Center Galleries at Texas A&M University in College Station, Texas.

Read books on paperweight collecting, paperweight manufacturing, paperweight artists and glass studios.

Learn about past and present paperweight manufacturers. To name a few—Clichy, Baccarat, Pantin and St. Louis from France, Bacchus of the UK and the New England Glass Co. of the USA. Some late 20th-century glass studios include Lundberg Studios, Orient & Flume, Correia Art Glass, Lotton & Parabelle Glass, and Royal Doulton with the Caithness brand. Well-known individual glass makers include Michael Kane, Rick Ayotte, Lewis Dean Woodruff and Charles Kaziun.

Learn to judge quality and rarity of a variety of paperweights. Paperweights come in different shapes—dome top with a flat or concave base and faceted or etched interiors, high domed, tall paperweights, egg shaped, pedestaled paperweights—and different types—Millefiori, Lampwork, Sulfide, Swirl, California style, Victorian portrait and Advertising paperweights and Silk Glass.

Attend the regular auctions conducted by L.H. Selman Ltd., Sotheby’s, Christie’s and Boisgirard and check past auction results to get an idea about value and pricing.

What paperweight collectors should know

• All handmade paperweights have variations or flaws in them. The more perfect the specimen, the higher its value.
• Discarded designs are in higher demand; limited editions not necessarily so.
• Provenance is necessary if the paperweight came from a famous or historic collection like that of Arthur Rubuloff, Evangeline Bergstrom and Robert Guggenheim.
• Grinding and polishing old paperweights to remove scratches or blemishes reduces their value.
• You can get paperweights at flea markets, antique shops and at online sites such as eBay, but very seldom the rare valuable ones. For those, contact a dealer specializing in paperweights. Some are Leo Kaplan Ltd, Pat McCauley and Alan Tillman.

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Scale, Balance and Placement of Your Antiques and Collectibles

Scale is probably the most important word used in the design business and oftentimes the most misunderstood. By scale, we mean size, which also includes shape, dimension and proportion. The scale of your antique furniture, objects and collectibles plays a pivotal part in balance. For the sake of this article, balance does not mean symmetry but rather unifying the space within spatial constraints, which is then ultimately accomplished by placement. Sounds convoluted. Let me take the mystery out of it and give you some practical observations.

Scale—Claiming the Space

Above is pictured an interior wall in a dining room that has for the most part no existing architectural interest, meaning no crown molding, a somewhat insignificant baseboard, no chair rail or paneling. What it does have going for it is a pretty uninterrupted expanse that will take a large-scale piece of furniture, in this case a very formal 19th-century English, ebony credenza with Wedgwood plaque insets. Center it on the wall using it as the principal, backbone, starting point, and build out the wall from there. Rule of thumb: large-scale furniture for large rooms, small-scale furniture for small rooms.

Balance—Expanding on the Space

You will notice that the walls of this room are painted a soft, chalky yellow. The color acts as a natural foil and serves to complement rather than to compete with the use of strong black color that predominates the wall by way of the credenza and the unframed architectural drawing done in India ink on fiberglass. This drawing, measuring approximately 4 feet by 6 feet, is centered over the credenza and serves to balance the space above the credenza. Framing the drawing is a pair of Italian gilt metal-and-crystal candle sconces. When placed at equal distance beyond the credenza, they help to visually expand and balance the space.

Black candles are used in the sconces to continue the black color theme. The positioning of the pair of Queen Anne armchairs, which are dragged into service for diner parties, helps, too, to balance the sconces. What we’ve got here is organized layering. To juxtapose the balanced alignment of furniture, drawing and sconces, an oversized Dummy Board placed just off to the left provides an amusing visual distraction.

Placement—dare to be spare

There are just fifteen items on display on or in the credenza, ranging from a Chinese export teacup and saucer, and a 1950s tin toy to an 18th-century lacquered Chinese tea table. Each item, in this eclectic collection, has been selected from an over-large collection of good, bad and indifferent antiques and collectibles to demonstrate their diverse appeal and also to speak about the owner of the collection.

Placement of these items is not random but rather positioned with a seasoned eye to create order, balance and harmony even with the seeming randomness of the collection. An 18th-century iron gear is coupled with a granite goose-egg stone from Maine along with a marble urn that is displayed on top of the tea table creating, in turn, its own tablescape. A sepia photograph framed in brushed metal and silver acts as a magnate to draw people to the spot. (People love looking at photographs.) It also conceals a small up-spotlight that serves to illuminate the drawing at night. Glass Regency column candlesticks in hurricane glasses complete the tableau.

So, to effectively display your antiques and collectibles, aim for good scale, balance and placement.

– Christopher Kent is a member of the WorthPoint board of advisers and director of evaluations for WorthPoint. He is also an antiques and collectibles generalist, fine-arts broker and president of CTK Design.

June20-25: American and English Paintings, Furniture, Silver and Decorations
iGavel

Summer introduces some hot sales this week especially with the premier online auction-house sale at iGavel. Their current sale, American and English Paintings, Furniture, Silver and Decorations, features more than 400 items and includes select pieces from the collections of Mike Nichols and Diane Sawyer, and the property of Marjorie Merriweather Post’s Mar-A-Lago estate.

If you are like me, you’ll enjoy just looking at the extraordinary collection of American furniture, especially Lot #1062361, a Pennsylvania Maple Tall Chest, with a bid of $1,200. Prediction—if this is a Lancaster or a Berks county piece with even a sketchy provenance as to the maker, that bid is going to be blown out of the water and finish up in the five-figure range.

You can find some great examples of 19th-century “honest” American furniture in Lot #1062379-Lot #1062383. I found a sweetheart of a piece in Lot #1062390, an American Lift-Top Chest with original red paint, probably from Pennsylvania. These are run-don’t-walk pieces up for sale if you want to start a collection of American furniture.

Also check out Fresh@igavel. This service offers continuous auctions with new listings posted every day that include something for everyone from beginning collector to the most elite—everything from Mohair Teddy Bears, Lot #1074869, to a Persian Terracotta Equestrian Figure, Lot #1073877, circa 400 to 1200 B.C.

Related WorthPoint videos with Lark Mason:
(Mason is the owner and founder of iGavel.com and an expert in Asian arts.)
Lark Mason on Chinese Jade

June 25-26: Jackson Rooms June Sale
Ivey-Selkirk

If you have a passion for collectibles, this is the auction for you as it includes porcelain, jade, ivory, vintage records, Nippon, Lenox, Reed and Barton, 1970s vintage entertainment centers and everything in between. With more than 1,300 items for sale, it’s also a great way to do some cross-comparison shopping.

Look at the estimates for Lot #504, Hummel collectibles; Lots #505-525, Royal Doulton collectibles—character jugs and figurines; and Lots #490-501 of Lladro figurines. Get to know what your items may be worth by comparing these starting estimates.

And if you want to start your collection of contemporary Americana furniture, look at Lot #993A, a table designed, signed, titled and dated by Rick Bachek. It’s a great example of 20th-century design that shows a circular table with an abstract, acrylic, lacquered, painted top on a metal columnar base going up with an estimate of $500-$750.

June 26-29: C. Downing Warehouse Clearance Sale
C. Downing
4 Taft Street, Norwalk, Connecticut – 11 a.m. to 4 p.m.

C. Downing Auctions is holding an on-site warehouse sale. It is an extravaganza We’re packed to the brim sale of furniture, porcelain, artwork, silver and other items. Christine Downing provides a full-service auction company that features quality antiques and collectibles, all handled with a personal touch. C. Downing specializes in auction consignment at competitive prices, outright purchases, complete liquidation, on-site auctions, consultation and appraisal services, and charity auctions.

By Christopher Kent
Director of Evaluations, WorthPoint

– Please send your antiques, art and collectibles news about auctions to news [at] worthpoint [dot] com, and put “Auction News” in the subject line.

“I found a wonderful art glass vase at a house sale, but I left behind some pottery and a paperweight and now it’s weighing heavy on my mind.”

Lou Ann, a 31 Club Member who often finds wonderful items at fantastic prices, said that to me last week. I can honestly say that after 40 years in the business, I still ask myself what I might have left behind at a sale. The voice in my head says to me, “That piece of pottery might have been better than you thought, and that painting could’ve turned out to be a real winner, Daryle. Why didn’t you buy it.” I even find myself churning these thoughts in my mind months after the sale. Although I try not to think about what I might’ve missed, I’m only human.

I don’t know if the pottery Lou Ann left behind was special, but at a low enough price, I would have taken the chance since I was already there. However, the real story might have been the paperweight.

Most people know very little about paperweights, so having the knowledge can give us a big leg up on finding that special one.

Paperweights only have had two great periods in their development, first from 1840 to 1860 and then starting in 1952 and continuing today.The most famous companies producing paperweights during their heyday in the first period were the St. Louis Company, Baccarat, Clichy, Bacchus and Whitefriars. Soon after this period, the art of making paperweights landed in America with companies such as The New England Glass Company, Gillinder, Mt. Washington and later Millville.

Try to get a look at some of these early pieces because they are just fantastic, produced with amazing quality. I could spend the next ten pages just describing them, but this would do you very little good, and I highly recommend you buy a few good books on paperweights. Second hand books are just fine. In fact, we’d sure appreciate it if you used our site if you order books from Amazon, because it helps us keep this site up and running. Take a look at this good guide for starters: Collectors’ Paperweights: Price Guide and Catalog

The second period of paperweights starting in 1952 with companies like Lundberg, Orient and Flume, Perthshire, Stankard, Ysart and a name I’m sure you’re already familiar with – Lotton. Lotton’s pieces are going up in value as we speak. Baccarat is producing weights that challenge the early the early ones for beauty. Each of these companies have made outstanding paperweights for the collectors.

Early pieces can bring over $100,000 and it isn’t unusual to find ones priced from $10,000 to $25,000. In fact, it is very hard to find a great example that doesn’t bring over $500. Like almost everything else, when the paperweight market got hot, the fakes and reproductions spilled out into the market place, but most of them are so bad, my nine-year-old can tell the difference.

How do we know what paperweights are worth, and how can they be identified?

Here’s a little secret. Most people pick up a paperweight and look on the bottom, finding nothing and put it back down. But, most paperweights are identified by marks within the weight itself. Baccarat has figures within the canes that even give you the date they were made. Often the maker’s initials are marked within the design of the weight, and you will have to look very carefully to find them. Take time to study every paperweight you see, because just one might put several thousand dollars in your pocket.

Get those books and study them. They will more likely only set you back a few dollars, but owning them could prove invaluable.

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Recently, rummaging through my basement, I put two and two together and came up with twenty-two. OK, I realize that this is improper math, that only an accountant could make happen, but I once toiled in life as an accountant, so I feel justified on the math.

You have to understand that my basement is like few other basements. It is literally filled to the rafters with boxes of stuff. In fact, it overflowed, and I went to the garage. It too overflowed and I bought another house, and… you get the picture.

Anyway, I begrudgingly agreed with my wife to empty one box, in the basement. (She does not read this column, so we will not let her know about the other house filled to the brim.) In the box, I found a whale’s tooth. Wow, I had long forgotten about it, and I greeted it like a long lost friend. I had meant to get it scrimshawed before, and this time I was not going to let the opportunity pass.

I did 30 seconds of research on the web (the length of my elongated attention span), and hired Tina White of Washington State to produce a piece of commissioned scrimshaw. I have, hopefully, attached these pictures. These are meaningful to me because one of them is from the HMS Cygnet, a British gunship that a relative of mine by the name of Thomas Bennett commanded. While doing my research I found that he rose to the rank of full Admiral, and was in the British Navy for 68 years, starting in 1797 at the age of 12. While Captain of the Rainbow in Jamaica, his eldest son died under his command. Somehow, Thomas became mayor of Hereford, England, while in the Navy during the 1840′s. I have also attached his wife’s Sarah Watkin’s calling card case. It is of finely carved ivory. I had been told it was the Admiral’s, but clearly it has his wife’s monogram. I do not know whose coat of arms is on it. Once upon a time I was told it had royal significance. It is a later mystery to solve. (Maybe I am eligible to be the Duke of Earl.) Somewhere in my basement I have the Cygnet’s log.

The second ship is in remembrance of my great-grandfather, John Seippel. He was Captain of his pilot ship, Calvert, in the Chesapeake. While I do not have a picture of his exact vessel, this is a picture of one of the famous Chesapeake Bay vessels that were renown around the world for their speed and endurance. I have a lot of his navigational items in my possession.

While doing this work, a lot of things occurred to me, including that I am the first male in the long history of my family who has not made a living from the sea. Also, I don’t know how to sail. (I don’t get sea sick.) Thus I plan to remedy this when I hit 60, in 9 years, and retire as the CEO of WorthPoint, and consider my current mission accomplished, which is to create the ultimate web site for collecting. I have had many friends tell me they want to join me on my 3 masted schooner.

Interestingly, yesterday I ran into a new member on Worthpoint, Doug, who is an advanced collector of scrimshaw. Doug and I talked about his collection and site. He has shared many of his pieces, including a very rare Sea Turtle shell, on our site for us. It turns out that Doug has many commissioned pieces and they are also done by Tina White, the scrimshawer of my tooth. It also shows you what a small world collecting is and that you never know where a box in your basement may lead!

Click here for Tina White’s website.

Who would have ever thought to check the backyard before going into the house at an estate sale? But after reading this blog, I’ll wager you’ll consider it. The only time I recall prices catching my attention for Garden Furnishings was at some of the Red Barron Auctions in Atlanta, Georgia where there were huge fountains, statues, and urns large enough for a person to hide inside. These furnishings were usually so large, you would have had to own a mansion to use them. Prices were also large, with some items going as high as $250,000 or more. But, naturally, there are much smaller items to be found other than the grand pieces from these great estates of yesteryear.

Garden furnishings have been popular for centuries. I can still see those beautiful gardens in the old movies about the Roman days. Gardens have been the property of the wealthy in Europe for thousands of years. In this country, Since we began to duplicate the lifestyles of the Europeans, the ladies of the South have had formal gardens. If you close your eyes for a moment, you’ll be able to image a Southern Belle, dressed in that large hoop dress with a very stylish hat and parasol walking among a formal garden of her plantation. These images bring back a completely different style than we experience today.

“Snap out of it Daryle, and stop that dreaming,” I just told myself. So it’s to get back to the real world and back to treasure hunting and making money, because there’s some serious money to be made today in Antique Garden Furnishings.

At an estate sale, when you enter the back yard and take a seat on that cast iron bench to scan the property, make sure that bench isn’t a Fern shaped 19th Century 59-1/2 inches long valued at $3,500.

What should you be looking for in that yard? How about a bronze figure like a little boy and girl reading a book by M. Geiss, valued $4,000 or more. Your eyes might then settle upon a cast iron fountain, decorated with birds and leaves. In today’s market, this fountaint might bring $15.000 to $20,000. Urns were always a great part of the beautiful gardens, so how about an 1880’s cast iron urn featuring angels for a mere $25,000. Other items are hitching posts, sun dials, birdbaths, boot scrapers, objects of art, and architectural elements like finials and wall brackets. My, oh my, there certainly are wonderful things besides flowers in a garden. Do some of your own research on the Internet and see what you learn today.

One of my friends told me the story of a sale he attended and after going through the entire house, he completely struck out. That was, until he was leaving and noticed two large green urns on the porch. He returned to the house and asked if the urns were for sale. I guess he caught them off guard, because they told him, “Well, I guess you could have them for $50.” He quickly paid the price, and rushed out, needing some oxygen in the worst way. Like lightening, he managed to get those items into the car. You see, on the bottom, incised twice, was the word “Teco”. Need I say more?

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Here is a cute British sterling vinaigrette circa 1818. It was made by John Shaw under the reign of George IV. How do we know this?

The hallmarks on this piece are the keys to identity.

The man in profile is King George IV who reigned during this time. The anchor mark tells us that it is from Birmingham, England. The rampant lion facing to the left is the telltale sign on all British pieces for sterling. The lower case “u” within a square tells us that it was made in the year 1818. Lastly, the “JS” initials are that of John Shaw; the Shaws were known for making vinaigrettes and snuff boxes.

British sterling all carry such identifying hallmarks. If you have any pieces like this, you can research them in two good references – ” Tardy’s International Hallmarks on Silver” or “Jackson’s Hallmarks: English Scottish and Irish Hallmarks on Silver & Gold From 1300 to Present Day.”

A vinaigrette is a little box that hangs on a chain like a pendant. Beneath the intricately pierced grill is normally found a pad of perfume. A lady of the era would raise the box to her nose and sniff the perfume to offset the odors of the 19th century street. Sometimes, ladies would carry a more piercing smelling salt mixture in their vinaigrette to revive themselves if they suffered from fainting spells.

This vinaigrette is rare by its being in the shape of a wallet or small purse. It also has a fancy “grate” – the reticulated silver square inside the box which was used to hold in the sponge containing vapors. The value of a vinaigrette can be determined by the form and also how fancy the grate is. It is not uncommon to find the best examples priced at more than $2,000. These pieces are getting harder to find and the value can be determined by auction or how much a collector is willing to pay.

References: Mark Pickvet, “The Encyclopedia of Shot Glasses,” Glass Press, 1998; Stephen Visakay, “Vintage Bar Ware,” Collector Books, 1997.

– Harry L. Rinker

“Official Price Guide to Collectibles”